“The race for realism is over [in cg animation]”, says Perifel, who took a more illustrative approach to character posing and other elements of Dreamworks’s The Bad Guys.
“Encanto” could have easily become a Mirabel and Bruno buddy story, but “from the beginning we knew we didn’t want to fall into that trope,” explained Byron Howard.
The crew tell us how they set about adapting the hit game into an animated series with lush production values.
Morgan Galen King and Philip Gelatt started the film as a self-funded passion project. Eight years later, it’s in the running for an Oscar.
Watch directors Don Hall and Carlos López Estrada, alongside co-writer Qui Nguyen, talk about developing the tone and style of the Disney film.
Eric Wong, a production designer on Mamoru Hosoda’s new fantasy epic, speaks about designing the film’s vast virtual world.
We speak to Joe Mateo, director of Skydance Animation’s new short “Blush,” as well as revisit some of the month’s most interesting stories in the animation world.
The showrunner of Netflix’s new satirical series talks conspiracies and creative collaborations.
The exuberantly experimental indie feature is out in theaters and on video on demand.
In a wide-ranging conversation, Appelhans explains why he ended up making the feature in China, rather than through the U.S. studio system, and reflects on what it means to be an American telling a story rooted in Chinese culture.
